A perilous, violent love triangle unfolds over a Turkish Riviera vacation between a beautiful young Danish girl, her possessive drug lord boyfriend, and the free-spirited, yacht-owning Dutch traveller she flirts with.
Be warned: this is no placid summer’s tale! Isabella Eklöf’s sun-drenched debut is as intoxicating as it is brutal. An unflinching study of female oppression whose perspective on abuse has stirred up controversy, Holiday is daring filmmaking that exudes confidence while asking crucial questions.
A nasty little film, beautifully photographed. I have to call this Arthouse Porn, because a lot of effort went into the rape scene, and it's pretty much the defining scene of the film. People who don't want to see rape-porn shouldn't even watch this. There's also the issue of the whole film portraying the lead character as a woman with a weak or defective brain. If none of that bothers you, it's kind of a cool film.
Think Sexy Beast with a crazy candy-and-pastel palette. This time, it's the Swedes portraying the Danes as the epitome of Euro Trash. Limitless amount of stupidity on display. Holiday is an Ulrich Seidl movie shot by Martin Parr. Isabella Eklof is incredibly talented. I need a beer.
Visually “Holiday” reminds me of Seidl films, with a touch of Breillat (unless it’s just the prosthetic penis). A distant, cold camera records the vacation of a Nordic gangster and his girlfriend Sascha in Turkey. It’s visually impressive, but the story is ugly. I never understood the motives behind Sascha’s actions, but that applies for real people as well, and perhaps for that reason I found the movie so rewarding.
This bright technicolour rainbow dazzles with superb photograhy and is production designed in a way that contrasts to great effect against the dark satirical subject matter. An unabashed take on unchecked masculinity within a drug trafficking group that plays out like a dysfunctional violent family. 3.5 stars
Despite sunny locations this movie is ice cold. Eklöf is clearly invoking the austerity of Haneke and Seidl which is not a bad thing. The acting is great all around. The movie's glacial pace might be off putting to some and the end might read as unresolved since there is no escape from the sundrenched hell for Sascha. But Eklöf is wise to not give into tropes of happy endings. Good but a hard watch.
Totally agree with this line from a fellow reviewer: "a nasty little film, beautifully photographed". Obvious influences from Seidl and Haneke, but without their depth and droll humour. It is refreshing to see a movie where the bad men get away with everything and there is no catharsis, but what do we make of the woman who kills and embraces routine debasement? The cum shot places the rape scene in porn territory.